Portfolio

A brief summary of my works

//ARCHITECT //
27 years
Milan, Italy
giorgio zangrandi
illustrator
ilgiozzi
giorgio.zangrandi@gmail.com
+39 3496138969
ilgiozzi
giozzi87
giorgio zangrandi
GRAPHIC
COMMUNICATION
// EVENTS
photoshop
cinema 4d
autocad
VIDEO EDITING
after effect
rhino
COMPUTATION
indesign
grasshoper
ARCHITECTURE
premier
sketchup
EDUCATION
MI/ARCH 2014 // ARTISTIC DIRECTION COMMITEE
SEP. TO NOV.2014
MILAN
with Stefano Boeri @Politecnico di Milano. Four days of meetings, hosted Liz Diller,Winy Maas,Dominique Perrault,Arata Isozaki.
POLITECNICO DI MILANO // PROFESSOR ASSISTANT
FROM OCT 2014 MILAN
Stefano Boeri and Michele Brunello Town Planning Design Workshop
BIENNALE DI VENEZIA 2014 // FIRST EDITOR ASSISTANT
FROM MARCH 2014 VENICE
ELEMENTS the Movie with Davide Rapp @Padiglione Centrale by Rem Koolhaas
STEFANO BOERI ARCHITETTI // JUNIOR ARCHITECT
MAR. 2013 TO MAR. 2014 MILAN
Interior, Landscape and Building Design Milan (Ita) Astana (Khz) Moscow (Rus) El Doha (Qat)
DOTDOTDOT // JUNIOR ARCHITECT
JAN. TO MAR. 2013
Interior and Event Design Milan (Ita) Beijing (Chi)
a
diplom
chool
high s
2006
cture
rchite
lor in a
e
h
c
a
b
2009 @Politecnico Milano
s
auhau
us in b
erasm
2010
MILAN
ture
chitec
r in ar
te
s
a
m
2012 @Politecnico Milano
NOW
GIORGIO ZANGRANDI
Birth_ 03/16/87
Mail_ giorgio.zangrandi@gmail.com
Phone_ +39 3496138969
Add_ viale andrea Doria 17, Milan, Italy
INSIDE THIS
PUBLICATION
YOU WILL
FIND:
ACADEMIC PROJECTS
URBAN CONDENSER
ATELIER PROJECTS
BEJING DESIGN WEEK
Building Design, Third Year Of
Bachelor
DotDotDot, 2013, Fuorisalone
Milano
CAMPO MARZIO
WIRED NEXT FEST
THE STRIP
SCULPTUREâ&#x20AC;&#x2122;S GARDEN
Aesthetics Philosophy, Third
Year Of Bachelor
DotDotDot, 2013, Milano
Large scale urban studies and
planning, First Year Of Master
Stefano Boeri Architetti, 2013,
Milano
REACTIVE WALL
ASTANA EXPO 2017
Exhibition Design,Second Year
of Master
Stefano Boeri Architetti, 2013,
Astana
THE GAME OF CRANES
AEREOEXPRESS
Large scale urban studies and planning, Second Year of Master
Stefano Boeri Architetti, 2014, Moscow
INTO THE WILD
ELEMENTS BIENNALE
Theoretical Studies, Master
Degree Thesis
with Davide Rapp, 2014, Biennale Venezia
A contribution for 14th International Architecture Exhibition - Venice Biennale 2014 by Davide Rapp
ELEMENTS THE MOVIE
FOR BIENNALE 2014
ELEMENTS is a movie montage of
hundreds of short architecture-related
clips selected among different movies,
from the last 100 years of the rich
and glorious history of Cinema. The
combination of the clips aims to
show - through the eyes of several
directors and cinematographers the fifteen elements of architecture
identified by Rem Koolhaas and OMA/
AMO: balcony, ceiling, corridor,
door, elevator, escalator, façade, floor,
fireplace, ramp, roof, stair, toilet, wall
and window.
ELEMENTS is a film about space, a
film as a set of spaces. It incorporates
scenes from different movie genres,
merging the clips one into the other in
a continuous flow of images, sounds
and actions. A movie montage is an
BIENNALE
editing technique in which shots are
juxtaposed in a fast-paced fashion that
compresses time and conveys a lot of
information in a relatively short period.
The simple act of juxtaposing separate
shots of corridors, stairs or façades
evokes connections that cannot be
found in a single shot. The various
spaces of fiction exist simultaneously
in a condition of continuos dynamic.
ELEMENTS is a film without any
plot, story or characters. Architecture
in movies appears frequently as a
background of the action and it can
be represented in many ways: top
views, one-point perspectives, frontal
planes, long takes and close-ups. The
framing highlights the proportions and
the geometries of the elements, while
the presence - or the absence - of
“Elements of Architecture, in the Central
Pavilion, will pay close attention to the
fundamentals of our buildings, used by any
architect, anywhere, anytime: the floor,
the wall, the ceiling, the roof, the door,
the window, the façade, the balcony, the
corridor, the fireplace, the toilet, the stair,
the escalator, the elevator, the ramp…
sounds, noises and scores unveils their
prerogatives and materialities.
ELEMENTS asks the viewer to focus
on the fifteen elements through the
fast transitions between the clips,
revealing contrasts and affinities, lines
and shapes, recurring patterns and
motives, movements and rhythms.
In this framework each scene, cut
out from the original movies, gets a
new meaning and unveils the close
and ambivalent connections between
Cinema and Architecture. !
Frames
Door
Balcony
Floor
Ramp
Stair
Escalator
Ceiling
Fireplace
Roof
Toilet
@ Biennale
Corridor
Window
Elevator
Facade
Wall
Stefano Boeri Architetti
ISTITUTO DEI TUMORI
IL GIARDINO DELLE SCULTURE
This project is part of a larger program
of humanization of care places through
art, sponsored by the National Cancer
Institute of Milan in collaboration
with many contemporary artists.
Its purposes are outlined in www.
artemedicina.com site, which includes
several sections including one devoted
to the contribution of artists in the
design and arrangement of spaces
hospital.
whether the sculptures may enrich this
space, already beloved for its values
as a place of peace and meditation,
which already houses a small garden
and in the hospital chapel.
The dialogue between medicine and
art will be repeated through practical
cooperation, both in design and in
the realization of the installation,
including the Cancer Institute and
the Gallery of Modern Art (GAM) of
the Municipality of Milan, which will
We aim to humanize a place usually
provide for this project some of the
frequented by patients and their
families, the large terrace on the ninth many fine sculptures and stored in
floor of the Cancer Institute, with the its warehouses. There are two other
sections of the project will involve a
works of modern and contemporary
living sculptors who enlivened the
sculptors, representing a significant
cultural landscape of the second half
artistic heritage of our country. The
of the twentieth century, and the other
fundamental question we ask is
We propose to assess, as objectively
as possible, even the aesthetic and
psychological effect of the project on
its hypothetical users: patients, family
members, employees of the Institute,
through a questionnaire that will be
distributed regularly to visitors to the
garden.
06
01
06
MILANO
Installing some sculptures of
Modern and Contemporary
artists, we are wondering if
the dialogue between art and
medicine could introduce a new
perspective in the hospitalization of the patience.
a few young contemporary sculptors,
selected by an independent scientific
committee. The works of the GAM
will rotate according to an exhibition
program that aims to better represent
the various issues that have animated
the Italian sculpture at the turn of
nineteenth and twentieth century. The
other works will be entrusted loan for
use at the Institute for a period to be
agreed with the individual artists.
Possible functionâ&#x20AC;&#x2122;s definition by day
residenza | atelier
giovani artisti
piazza per eventi
galleria GAM
nuovo ingresso
sezione
Artistâ&#x20AC;&#x2122;s Atelier
06
prospetto
residenza
planimetria
atelier
5
0
progetto
residenza | atelier per giovani scultori
Gam Exposition
06
10
06
Entrance
06
Gam Exposition
Gam Exposition
06
Atelier
06
External Space
06
Atelier
06
Plaza
06
Stefano Boeri Architetti
ASTANA EXPO 2017
sector, students, politicians and
administrators from all over the world,
can meet at Astana, where researches
and experiments on new materials
and devices will take place, with the
aim of a better exploitation of clean,
renewable and accessible energy.
1. the future above astana rises up
from the last drop of oil
But it’s not only that: thanks to the
2. the future above astana belongs to
‘FUTURE ABOVE ASTANA project’,
everyone and to no one - it shares the
and thanks to the ‘1KM STALK’ and
its laboratories - by 2017 Astana will energy that the nature itself generously
potentially become a world laboratory offers
for the most advanced experiments in 3. the future above astana goes
the fields of renewable energy sources, throughout all the levels where
the extraction, accumulation, storage renewable energies are available
4. the future above astana produces
and distribution of a clean energy.
energy for today, conserves it for
tomorrow and shares it when needed
From 2017 scientists, researchers,
5. the future above astana is a first
technicians, operators of the energy
Astana in 2017 will be the place
where humanity will have the chance
to experience and to compare the
most advanced technologies that will
empower the lives of 8 billion women
and men with a clean, renewable
energy, accessible to all.
01
ASTANA KAZAKHISTAN
The driving force behind the city derives mainly
from the resources generated by traditional
energy sources, but the city establish as a
challenge an ambitious goal - to become the
worldwide reference on renewable energies of
the future. The conceptual visions of Jeremy
Rifkin and reflections on the Third Industrial
Revolution will no longer be a future scenario but
they will find its first application in the capital of
Kazakhstan.
and key element in the new smart
network going all around to distribute
the energy
6. the future above astana comes to
every house and thus every house
becomes a small power-plant
7. the future above astana is a world
where the people and nature live
together
8. the future above astana is clean of
co2 emissions
9. the future above astana is a new
lifestyle, that everyone coming to expo
will learn and share
10. the future above astana makes
the world go round in a sustainable
way - there’s a place both for e-car and
hourse
MasterPlan
06
General View
Tower
06
1km Tower
Expo Pavillions
06
First Floor Plan
06
Internal View
Exploded
06
Atelier
1 km stalk
Khazakh pavilion
greenhouse
thematic pavilion
greenhouse
thematic pavilion
1 km stalk
vertical circulation
circulation
vertical circulation
greenhouse for solar chimney
circulation
national pavilions
national pavilions
DOTDOTDOT & BEJING DESIGN WEEK
A TASTE OF CHINA
FUORISALONE 2013
Exhibition design for Beijing Design Week
Contemporary Chinese Design in Milan Officine
Creative Ansaldo, Milan Design week, April
2013 A Project curated by Beatrice Leanza, new
creative director of Beijing Design Week, which
occupies the entire 900 sqm of Officine Creative
Ansaldo.The exhibition was conceived as a
sequence of images and views that illustrate
contemporary designersâ&#x20AC;&#x2122; take on oriental
tradition.The modular structure of the exhibition
set is inspired by Dougong, an ancient chinese
architectural system.
DOTDOTDOT
WIRED NEXT FEST 2013
MILANO
Exhibition design for the first Festival of
Wired ItaliaThe Indro Montanelli Gardens,
Milan, May 2013 A uniform collection
of X-shaped architectonic elements are
located above the natural features of the
park; this is the component that connects
the core theme of the festival, innovation,
to the historical surroundings of the
Giardini di Palestro. Each element has a
function or unexpected interaction.
STEFANO BOERI ARCHITETTI
AEREOEXPRESS MOSCOW
MOSCOW
Exhibition design for the first Festival of
Wired ItaliaThe Indro Montanelli Gardens,
Milan, May 2013 A uniform collection
of X-shaped architectonic elements are
located above the natural features of the
park; this is the component that connects
the core theme of the festival, innovation,
to the historical surroundings of the
Giardini di Palestro. Each element has a
function or unexpected interaction.
cured by
Breandan Patrick Oâ&#x20AC;&#x2122;Donnell and Giorgio Zangrandi
Master Degree Thesis
INTO
THE
WILD
A computational approach to architectural field VS
an architectural approach to computational field
Professor Luigi Cocchiarella with Breandan Patrick Oâ&#x20AC;&#x2122;Donnell
Luigi Cocchiarella
He teaches Descriptive Geometry and
other disciplines related to Graphic repalmost
curatorial.
Through
continuous
is
worth
study
and
research
which
The work sought to verify whether
resentation at the
study of the vast literature on the
through the help of new technologies are the factors that make it a truly
School of Architettura
subject, we have identified many
parametric process.
could develop a computational
Our initial idea to address this through figures which, in our opinion, offer a e SocietĂ , where since
paradigm shift in the architectural
new and interesting interpretation of 2011 he is a member
a project that could show how this
process. A variation that can occur
method was valid in all phases of the the landscape architecture parametric. of a joint committee of
along the entire route of the project,
teacher and students
project. However, we realized that we The thesis, as well as our exposure,
from its cultural phase through the
would not be able to prove this, since then tries to retrace the various stages for school activities
creative to its construction.
This desire to understand the potential we do not have the tools and finances of the project, not only the final stage, monitoring (Commissione Paritetica). From
but also the procedural and the one
computational algorithmic architecture to conduct a project through to its
2004 to 2010 he has
execution. The sum of these issues has linked to the representation, or the
is born in us to experience studying
made us see how a purely theoretical relationship between the designer and also taught at the Facand working abroad, where we had
ulty of Design. From
approach to a topic of this magnitude the instrument.
to confront and learn this method of
1999 to 2009 he teachwas not the most appropriate method.
design.
es at the post- graduCertainly this approach to architectural In this sense, there has been a big aid
ated school SILSIS-MI
practice is not new absolute method our initial move to deal with different
for secondary school
personalities in one way or another
of design but yet it has in it the
teachers.
had something to say on these topics
possibility of a critical engagement
came up with the idea to address our
with the emerging issues of
research in a way that could be called
contemporary life. For this reason it
06
06
INTERVIEW PROJECT
One way that we can define almost
curatorial. Through continuous study of
the vast literature on the subject, we
have identified many figures which, in
our opinion, offer a new and interesting
interpretation of the landscape architecture
parametric.
Presentation
We have decided to
01
present our work like an
exhibition, kind of unusual
in our school, in order to
show the inner meaning of
our thesis.
Thesis Diagram
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COMPLESSITA
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04
Project
Coloured references means
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References
Project
Process
Representation
Images
Models
Diagrams
Images
References
Project
Process
Representation
Book
This book is a synthesis of my research work on computational architecture. Through
three section (visualized with the cyan, magenta and yellow ) is analyzed the potential of
the new informational technologies not only as a mere tools of representation but also as
a possible help for a paradigm shift in the architectural design. The research started with
some interviews with italian protagonist in order to understand the main doubts about
those technologies. Once I have understood the set of problems, iâ&#x20AC;&#x2122;ve started a discussion
with some architects all around Europethat are used to work with those tools in a proactive
mood.
Book
Entwurfsprojekt Die Poesie des Digitalen, Bauhaus Universität, Second Year of Master
Documenta of possibilities
The Game of Cranes
Professor Reinhard König Professor Florian Geddert and Professor Sven Schneider, with Katka
Cechová and Corina Puiu
Florian Geddert
Florian Geddert studied architecture at the
BTU Cottbus and the
University of Arts in
elements
and
using
the
variation
to
be
the
center
of
the
public
life:
“...However, we believe that we
possibilities to create new perspectives Berlin and completed
huge open space, trees, benches,
could try something new” (Arnold
with a diploma. In
Bode1964,documenta III). Or: “However, dOCUMENTA exposition. But onestly for the plaza. The temporary use
2005, Florian Geddert
of the cranes and containers can
the reality in this place is totally
we believe that we could try twice
achieve big variations of displacement founded in Berlin ofdifferent and it can be perceive only
a day something new”. But why we
fice plus 4930 archineed something new? When we need going there. The first annotation is the according to the specific needs. We
tecture with partners
can create a choreography of these
fluxes on the Platz,quite nobody use
something new? Now in Kassel, not
Rene Kruger and John
disposi- tions, where the day and
the center to pass from part to part
only because of the dOCUMENTA
Sierig in which he
competition, but also for the amazing and only few people choose an empty night offer two different stages on
is still active today.
space (because is not an open space) which the documenta can perform.
oppurtunity to val- orize a place like
Friedichsplatz. The urban complexity to chill out. The trees, that sup- pose Through the costumalisation of some Since 2009 he has
worked as a research
con- tainers we achieve different
to make a filter between the caotic.
of the Kassel’s center made a huge
assistant at the DeThe trees, that are supposed to make spatial combinations during the day
open space like a urban desert.
partment of computer
in order to answer different needs
a filter between the chaotic city life
Is like to flatten all the opportunity
science in architecfor the functions. In the night the
that could come from to a real public to leisure square, bearly fullfil their
ture at the Bauhaus
this initial function and do not create same elements are used to create
space for a sane public life. For this
University in Weimar,
we need something new, for showing balance intended in order to achieve nonconformist point of view in a
the intrinsic properties. Theoretically, an urban space. What can we bring in square where regularity and geometric where he is engaged
primarily in teaching.
such a place to function in a temporary relations give a strict
looking Kassel from a map, the
way? The concept is to bring common frame.
Friedichsplatz have all the features
06
06
DOCUMENTA (13)
Since the 09 June 2012 dOCUMENTA
presented (13) The works of more than
300 artists and other participants in more
than 60 venues in Kassel and at external
locations Kabul / Cairo-Alexandria / Banff.
Visitor numbers rose by more than 110,000,
representing an increase of 14% over the
last Documenta.
Possible functionâ&#x20AC;&#x2122;s definition by day
04
03
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Container Types
Combinations
Day by Day
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Possible
functionâ&#x20AC;&#x2122;s22 definition23 by day
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04
Algorithmic Architecture, Bauhaus Universität, Second Year of Master
Reactive Wall
Project
Professor Florian Geddert, with Slavomir Šiška, Martin Bielik and Agnieszka Szewczyk
The showcase must rappresent the
inner vocation of the store, but also
it has to have a huge comunication
impact, and our project works in this
direction.
We have decided so to work in this
direction, try to resolve all this topic
whith only one gesture; infact the
project is developed by a consecution
of fabric stripes on a binary. All the
strip have the same dimension, and
in a normal situation they cover the
showcase. When someone cross the
showcase’s pertinent space, this
stripes may rotate in order to open the
view for the customer. The peculiarity
of this project is that those stripes
don’t rotate all whith the same angle,
but understand the position of the
person and rotate to make a bigger
to understand what is the differences
in each image. So it can understand
what is the background and what is in
moviment. Then we improve this code
adding a data sender from Processing
to Grasshoper using both code and
gHowl, a plug-in of Grasshoper.
When we have all the data collected
in Grasshoper we attacked this data
like a slider to the y coordinat of
Parametric point, so all the geometry
was depending on the webcam
input. In the end we connect and
ArduinoMega to Grasshoper using the
plug-in Firefly, in order the send each
angle of rotation to an engine connectd
to ArduinoMega. This passage allowed
us to translate an webcam input in a
physical output.
visual field. Once the customer pass
one region of the showcase, those
stripes return to the initial position. In
this way the showcase doesn’t show
itself in once, but collects in every
moment hte curiosity of the customer.
The technical works has been required
different skills. Firstly, we made
the 3d model using Grasshoper for
Rhynoceros in which we definited the
geometry. Every single geometry was
built in relationship whith a point that
could rappresent the customer. So all
geometry is parametrich. Then we had
to create an instrument to trasmitted
the webcam data to the model. For
doing that we had use Processing,
in which we made a code to capture
the movement: the camera take
multiple frame and compares in order
05
05
SEMINAR
In the seminar, the use of the parametric
design tool Grasshopper for Rhino is mediated.
Besides the pure learning the software, this
will be tested by the students to create a
parametric 3-dimensional facade Ornaments
made of concrete. Part of the seminar is to
create the ornament, as well as the creation
of manufacturing data in Grasshopper for the
production of formwork elements.
Florian Geddert
Florian Geddert studied architecture at the
BTU Cottbus and the
University of Arts in
Berlin and completed
with a diploma. In
2005, Florian Geddert
founded in Berlin office plus 4930 architecture with partners
Rene Kruger and John
Sierig in which he
is still active today.
Since 2009 he has
worked as a research
assistant at the Department of computer
science in architecture at the Bauhaus
University in Weimar,
where he is engaged
primarily in teaching.
Conceptual Phase
more mediated communication through a tripartite system.
07
Interaction between the wall and various people
Geometry
10
Processing
Used to track the movement of different
person, and sendind the height point of eyes
to Grasshoper
10
Grasshoper
In order to analyse the different angles of
rotations of each bline
10
Arduino
Receiving data from Grasshoper and sending
to the physical model in order to rotate each
blinf
09
Blindâ&#x20AC;&#x2122;s System Rotation
08
Onestand Blind
Minimal
Medium
junction
Maximal
Maximal
Medium
Minimal
Videoâ&#x20AC;&#x2122;s Frame
junction
Aesthetics Philosophy, Third Year Of Bachelor
CAMPO MARZIO
LAVACRUM PUBLICUM
Professor Pierluigi Panza, with Alessandro Bava
Pierluigi Panza
A professional journalist since 1995, working
at the Corriere della
Sera, where he worked
more
recent
research,
on
his
way
the
Campus
Martius
by
Giovanni
Our work in the “field marzio” Piranesi
on culture. Since the
to “dissect” the ruins with almost
was aimed to suggest an architectural Battista Piranesi, the fifth volume of
early nineties he has
visionary imagination, nourished
his “Roman Antiquities”, the largest
approach such as that Piranesi had
been teaching as an
by the knowledge accumulated by
ever accomplished and erudite
towards devising of this work. Each
adjunct professor at
generations of antiquarians and
reconstruction of ancient Rome,
group was given a unique building
surveyors as well as direct examination various universities.
of the master architect, and we have aroused great surprise. Inside was
He previously worked
indeed missing the Via Lata (now the of the remains survived, remains
been asked to develop elevation
for a publishing house.
Via del Corso), key artery in the road extraordinarily compelling and
following both the dittami of the
It ‘the author and edinetwork of the City, moved to another instructive.
original design of both the dynamic
tor of many books and
part of the city. To explain the reasons
contemporary architectural design.
scientific publications,
Our work is based on the concept of for the original choice, Connors
including “Antiques
investigates the genesis of the work
density, by analyzing the historical
and Restoration in Itand the history of previous plans of
context we decided to split our
aly in the Eighteenth
building, the spa, in two, densifiying Rome used by Piranesi, from Leonardo
Century” (1990), “Leon
Bufalini (1551) the discovery (1562)
the changing rooms and expanding
Battista Alberti: phithe own sauna and turkish bath. Even of the fragments of the marble plan
losophy and theory of
dating back to Septimius severe, until
actualizing the new contemporary
art” (1993)
the plant recently, of Giovanni Battista
features we decided to set the
setting for the films of Federico Fellini Nolli (1748). Even if the assumptions
Piranesi were contradicted by
Satyricon. The publication (1762) of
03
01
03
CAMPO MARZIO
Derived from years of fieldwork spent
measuring the remains of ancient Roman
buildings, these six etchings depict
Piranesi’s fantastical vision of what ancient
Rome might have looked like and represent
a landmark in the shift from a traditionalist,
antiquarian view of history to the scientific,
archaeological view.
03
Public Space Design, First Year Of Master
THE
STRIP
Professor Andreas Kipar, with NicolĂ˛ Bertino, Sebastiano Beretta and Cecilia Aronsonn
In 1984 he obtained a
degree in Landscape
Architecture at the
University of Essen
and graduated cum
laude in architecture
at the Milan Polytechnic in 1994. From 1985
to 2000 made between
the parks we note the
collaboration to the
North Park (600ha),
the Park rivet (Ex Maserati), the public park
of the former industrial OM, Park Hatch (Ex
Alfa Romeo) in Milan,
Park Krupp in Essen,
the Parco della Spina
3 in Turin, the Park of
the Sabines in Rome
(in progress).
Segrate, the East urban limit of
Milano, is a territory full of enclosure of
different types. It is crossed from E to
W by hard infrastructures that cut out
every connection N-S. My proposal is
a liner park, a strip in order to link the
different realities of the city, reacting
to it. THe strip will react to the nearby
situations, morphing itself to creat
different spaces and allowing programs
to fold into it.
04
01
04
GREEN RAYS
Segrate is one of the Green Rays of Milan.
Green Rays are a project sponsored by the
City of Milan - Department of Land and
Furnishing Sector Development, Urban
and Green Decor for a new network of
pedestrian and cycle paths that enriches
the urban green: what to improve
navigation in the city and life daily for all
citizens.
Andreas Kipar
Urban Anylisis and Statistics
04
04
04
04
04
Urban Anylisis and Statistics
tre
es
wa
ter
roa
d
pa
th
ho
use
s
ust
rie
s
COMME RCIAL
bookshop
bar
tre
es
Activities
restau
rant
clothes
roa
d
pa
th
rent bike
CULTURE
music
view poi
nts
art
expo
roa
d
pa
th
tre
es
SPORTS jogging
rolle
rcoster
cycling w alking footballkids games
bowls
chess
volleyball
roa
d
WELLNESS
swim pool
yg
rou
nd
sauna
tre
es
gym
thin
king spa
ce
skatepark
Close
club
roa
d
Strip
pa
th
Op
tein
Con
er
salarove
p
na
tur
al
Open
tre
es
Railway
wa
ter
Activi
ho
use
s
ust
rie
s
es
ind
iviti
Act
dis
mi
sse
d
fac
op
tor
era
ies
tin
g
fac
ray
tor
law
ies
ay
sto
rag
e
wa
ll pa
th
pla
yg
rou
nd
op
en
pa
rk
com
me
rcia
l
ce
roa
d
n Spa
pa
th
Ope
wa
ter
ties
ho
use
s
ust
rie
s
es
na
tur
al
iviti
Act
ind
en
pa
rk
me
rcia
l
op
space
com
Open space
dis
mi
sse
d
fac
op
tor
era
ies
tin
g
fac
ray
tor
law
ies
ay
sto
rag
e
un
wa
de
ll pa
rgr
th
ou
nd
act
vit
ies
pla
open
pa
th
Close space
wa
ter
ce
ho
use
s
ust
rie
s
Ope
n Spa
na
tur
al
Space
ind
Close space
pla
yg
rou
wa
nd
ter
act
ivit
ies
op
en
pa
rk
com
me
rcia
l
cul
tur
al
Statistic
tre
es
e spac
e
wa
ter
Clos
ho
use
s
ust
rie
s
Open space
na
tur
al
ce
spa
ind
Clo
pla
yg
rou
wa
nd
ter
act
ivit
ies
op
en
pa
rk
com
me
rcia
l
Open
wa
ter
se
ho
use
s
ust
rie
s
spa
ce
na
tur
al
en
ind
pla
yg
rou
wa
nd
ter
act
ivit
ies
op
en
pa
rk
com
me
rcia
l
na
tur
al
ind
Design Details
Section
Open space
Close space
way
Rail
space
space
Op
en
spa
ce
Clo
se
ce
UrbanPlan
arena
spa
Design Details
THE FINAL
MODEL
Scale 1:50
Design Workshops, Third Year Of Bachelor
URBAN
CONDENSER
Professor Vincenza Lima, with Michele Sordi
The aim of the project is to creat an
urban condenser that allows a requalification of the entire urban area.
The programm and the functions was
totally free. So We want to create a
network, a joint basis, a sort of spider
web. that captures and connects.This
space will have become capacitor
activities and people. To achieve
this must be communicated outside,
anchored in a bursting with attractions
to make for temente perceived his
presence.We want to communicate
Milan here what is happening inside.
create an outpost of communication
of cultural activities, tuali projects,
initiatives and current events.We want
people to be leaders of this development.To translate our intentions in
terms of planning an intervention
that will depart from its preferential
access road. This communication may
be at-targeted interventions across
different order of magnitude from
furniture and flooring to the use of
media tools.Intervene in a unified way
trying to relate activities and functions
within a single capacitor. One way
could look like work on different levels,
lower the circu-car at a lower level or
create underground spaces of public
use, elevated routes to make more
dynamic space.In this area people
can make creative activities that the
home ren-derebbe difficult to carry
out, through the use of equipped
laboratories. There will be designated
areas for allâ&#x20AC;&#x2122;eposizione, where entities
can communicate to visi-tors to their
proposals and inizitive, where artists
can display their works. In this way,
the environment will become culturally
vibrant and people will enjoy what the
city offers at the moment.
To the activity Affiancheremo cultural
and creative recreational areas
where you can relax and refresh in a
dynamic, never dull. Here you string
together human relationships, Quici
will take a break after an afternoon
of shopping in Buenos Aires during
or after a dayâ&#x20AC;&#x2122;s work., Here in the
evening you will be able to attend a
performance or concert. The circulation
between one room and the other will
yield impressive from the paths that
will link the different levels of space.
In this area will play a leading role
qualification of public space, street
furniture, paving, lighting installations.
01
01
MILAN
Essentially we have chosen to look at
the world from the point of view of Non
Standard Architecture. This means that
we take the exception as the rule. In other
words we have quit the aesthetics as a byproduct from industrial mass-production.
Conceptual Diagrams of/for Urban relations
22
Standing Time Study and Diagram
2’
1h
30’
30’
18
19
0
20
2
16
0:30
21
1
17
Density Study and Diagrams
15
PIAZZA
PIAZZA
PIAZZA
PIAZZA
14
13
12
11
10
09
11
10
09
14
Outside Path
13
12
Close
Corridors
Inside Path
Plaza
Open
Art
Fashion
Art
Dance
Event
Sculpture
HOW TO DESIGN
THE ACTIONS?
Plane
23
Ground Floor
0
-4.5
0
-4.5
0
-4.5
-4.5
0
0
23
23
23
23
Basement
Section
Section
Sectionâ&#x20AC;&#x2122;s Types
Detail of Architectural Typologies
23
23
Dancing Class
Cofee Shop
-4.5
Detail of Architectural Typologies
23
23
Cofee Shop
Cofee Shop
STEFANO BOERI
Milan, 23rd May 2014
To whom it may concern,
I'm writing on behalf of Giorgio Zangrandi regarding the application for the
Research and Development Internship at MoMA for the year 2014/2015.
He started working in my office one year ago and he demonstrated strong
motivation in all the projects we have been developing and great competence
in many fields. He always showed himself interested in all the disciplines we
touched together, from urban policies to interior design, from conference
organization to architectural theory.
He is sharp and fast to deal with both architectural and cultural projects from
every point of view. Giorgio is very skilled in collaborative projects, thanks to
his sociability and curiosity, but on the other hand he is very autonomous and
able to face problems and responsibilities.
In my opinion, this internship at MoMA for him would be a great opportunity to
improve the research in the curatorial field he started during his one year
exchange experience in Germany, and that he concretized in his Master Degree
thesis about the role of the new informational technologies.
With his relentless motivation and his will to improve his knowledge and
capability not only in this field, Giorgio would surely bring an added value to
your program. We know he would be an excellent fit for your organization.
If you have any questions, fell free to contact me at above address.
Best regards,
Stefano Boeri
s.boeri@iol.it
+39 3356035764
STEFANO BOERI via g. donizetti 4 20122 Milano tel. +39 02 55014101 fax +39 02 36769185
Â
Milan, May 22, 2014
To whom it may concern
it’s my pleasure to recommend you Giorgio Zangrandi as a candidate for the Research
and Development Internship at MoMA.
I came to know Giorgio Zangrandi, in 2013 during my period working at Stefano Boeri
Architetti.
I had the occasion to guide him during his first working experience after graduation.
With my pleasure Giorgio's work has achieved full appreciation from all the project
leader with he work with.
During this first experience together,I have appreciated very much his enthusiasm and
his ability in following tasks that have been given. Moreover I have noticed his originality
in proposing new themes and his ability using several digital tools. Giorgio is a very
good young architect and a clever person, very much willing of learning more and of
doing his best. Moreover he has a good temper and he can very easily work within a
team.
After one year at Stefano Boeri Architetti, I've invited him to help me for a contribution at
14th International Architecture Exhibition - Venice Biennale 2014, titled “Elements”.
During this work he showed two lines of interest, namely architecture and cultural
context: these seem to match with the nature of the contribution. His work during this
project represents, his positive energy, along with his social and creative skills. In
addition to being responsible and diligent – willing to work with enthusiasm – Giorgio
took initiative to get involved in all the differences phases of the project, illustrating his
excitement for this installation and his passion also for the cultural context .
I would like to thank Giorgio for his help and wish success with his application for you
organization.
Therefore I recommend him to you without reservation. If you any further questions,
please do not hesitate to contact me.
Sincerely,
Davide Rapp,
Film-maker, Architect
davide.rapp@gmail.com
+39 3470895161
THANKS FOR YOUR TIME
GIORGIO ZANGRANDI
Birth_ 03/16/87
Mail_ giorgio.zangrandi@gmail.com
Phone_ +39 3496138969
Add_ viale andrea Doria 17, Milan, Italy